Fundamental Differences Between Theatre & Classical Music

Cast_Photo_TSFS

CAST FOR INDUSTRY PRESENTATIONS NYC, SEPT. 25

I find it remarkable sometimes how time slips away unnoticed even though you are vaguely aware that some things have gone on far too long whereas other matters, of real importance, appear to vanish hardly before they’ve started.

I have been in NYC on this umpteenth sojourn now for over 7 weeks whilst working on The Stranger from Seville musical written with long-time collaborator, Victor Kazan. At the same time, I have been learning Kurt Atterberg’s Symphony No. 3 for an upcoming concert with the Australian Discovery Orchestra later this month.

The preparation for industry backer audition readings for new musicals in New York is a gruelling process – arduous for everyone involved – including the stupendous cast put together by Stephanie Klapper Casting.  How many actor/singers in the  photo above can you recognize and name?

Time on this project just vanished from when we started four weeks ago up to the day of presentations on Sept. 25 but it culminated in fabulous performances skillfully and sensitively directed by Martin Platt (Dir.) and Matt Castle (Mus. Dir.).

The process of ‘prepping’ readings and workshops for new musicals is so widely divergent from prepping orchestras for performance and recordings that some observations and comparisons might make interesting reading to those of you who follow this blog.  Well, that’s my hope anyway. Continue Reading →

Streaming Ahead?

StreamingI really do love reading the British trade mag. Classical Music over coffee of a morning once a month or so if only to digest, in that inimitable style only the British can muster, what’s happening in Classical Music and Opera in the UK.

Interesting to note that the Mark Allen Group has bought out this title along with Rhinegold Publishing in recent days.  This is potentially not a good thing in terms of editorial independence, but that’s a subject for a different day.

I’m also somewhat fascinated by the ‘infotorials’ disguised under the banner of ‘guest editing’ in the August edition about music streaming and its growing impact on the classical music sector.  Provided by industry insiders (I have no wish to mention them by name) I can’t quite throw off the feeling I am being conned.

That said, if you want to track down this edition of the magazine, do take careful note of what Becky Lees (Head of LSO Live) and Alexander Van Ingen (CE of The Academy of Ancient Music) have to say; being both insightful, grounded, if not direct and unapologetic.  The rest, however, suffers from a lack of balanced reporting.  There are some vested interests in play. Continue Reading →

A Spotify Statistic Today

Nan_Schwartz_RecordSo it turns out that my record of the orchestral music of Nan Schwartz (see image) has had over 507,000 plays in just over three-and-a-half months since the record was released on the Divine Art Records label in March this year.

Who knew?

Well besides the 507,000 very kind folk who’ve discovered this American composer’s consumate and extraordinary music (courtesy of an initial promotion by Naxos  on their Spotify Playlist – thank you guys!) it seems that the ‘established’ classical music press haven’t quite caught up.

It’s an interesting statistic when you compare Nan’s numbers to some of the apparently better recognised names (current artists, composers and conductors) flaunted by the major record labels and their Spotify statistics over the same period!

Ah, well, all in good time I imagine.

Kevin